Best Film Ever

“There’s something down there…” Join Ian & Megs for our 336th episode as we squeeze into the claustrophobic darkness, extinguish every source of comfort, and descend into Neil Marshall’s modern horror masterpiece The Descent (2005). Liam isn’t with us this week — he confidently insisted he'd found a shortcut through an unexplored cave system and, according to his last voicemail, is "pretty sure this is still the right way." Kev? He volunteered to be the group's map reader despite never actually bringing a map. We haven't seen either of them since they crawled into the first tunnel. This week we discuss: Neil Marshall's masterclass in tension — how The Descent spends almost an hour terrifying us before the monsters even become the biggest problem. The all-female ensemble — authentic friendships, believable conflict, and why the characters feel so much more than horror archetypes. Claustrophobia as horror — does the cave itself remain the film's scariest antagonist, even after the Crawlers arrive? Megs explores the group's dynamics — grief, guilt, betrayal, and how fractured relationships become just as dangerous as the environment. Ian breaks down the film's visual storytelling — darkness, colour palettes, practical effects, and why the audience never loses its sense of geography despite the labyrinth. The Crawlers — perfectly revealed monsters, or does the film become less frightening once it shows its hand? The balance between psychological horror and creature feature — is Sarah fighting monsters, trauma, or both simultaneously? The infamous UK and US endings — which version better serves the story, and does changing the ending fundamentally alter the film's message? The "show vs tell" balance — how little exposition the film needs before we're completely invested in every decision the group makes. The jump scares — expertly earned or simply proof that sound design can make anyone leap out of their seat? The ending — hopeless, empowering, hallucinatory, or one of the bleakest finales horror has ever produced? And finally, whether The Descent is the Best Film Ever — or simply one of the greatest horror films of the 21st century. Become a Patron of this podcast and support the BFE athttps://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Locksley! I'm going to cut your heart out with a spoon!” Join Ian, Liam, Kev & Debbie for our 335th episode as we celebrate the 35th anniversary of Robin Hood: Prince of Thieves (1991). Grab your bow, avoid the Sheriff’s dinner invitations, and prepare for a film packed with accents of varying legality, spoon-based violence, and enough Alan Rickman scenery-chewing to feed Nottingham for a winter. Megs isn’t with us this week — she was scheduled to record, but unfortunately entered an archery tournament disguised as a peasant and is currently hiding from the Sheriff’s tax collectors. This week we discuss: Kevin Costner’s Robin Hood — movie star charisma, questionable accent, and whether audiences have ever really cared. Alan Rickman’s Sheriff of Nottingham — one of cinema’s great villains. Does he completely hijack the film from everyone around him? Morgan Freeman’s Azeem — wisdom, dignity, and why he often feels like the smartest person in every scene. The 1991 blockbuster formula — action, romance, comedy, spectacle. Is this the perfect example of a film designed to entertain first and ask questions later? Ian explores the film’s historical accuracy — or more accurately, the complete lack of concern anyone involved seems to have had about it. Liam questions whether the film is secretly two films at once — a sincere Robin Hood adventure and a dark comedy starring Alan Rickman. Kev dives into the action sequences — archery, sword fights, castle assaults, and how well they hold up three and a half decades later. Debbie weighs in on the romance — does Robin and Marian’s relationship actually work, or is it simply required by law in a Robin Hood movie? The supporting cast — Michael Wincott, Mary Elizabeth Mastrantonio, Christian Slater, and one very famous cameo that audiences still cheer for. The accent debate — does Costner’s performance improve if you simply accept that nobody in this film comes from the same county, let alone country? The “show vs tell” balance — does the film earn its emotional moments, or rely on Bryan Adams to do the heavy lifting? The ending — triumphant, excessive, and unapologetically crowd-pleasing. Is this blockbuster filmmaking at its purest? And finally, whether Robin Hood: Prince of Thieves is the Best Film Ever — or simply one of the most entertaining adventure films of the 1990s. Become a Patron of this podcast and support the BFE athttps://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Silencio.” Join Ian & Liam for our 322nd episode as we drive headfirst into the dream logic, fractured identities, and eerie Hollywood mythology of David Lynch’s Mulholland Drive (2001). Coffee is poured, clues are scattered, and certainty is politely asked to leave the room. We’re later joined for The Endgame by BFF of the BFE: Shai Bergerfroind, the man responsible for bringing this cinematic puzzle to the podcast in the first place. This week we discuss: David Lynch’s dream architecture — narrative fragments, emotional logic, and whether Mulholland Drive is meant to be solved… or simply experienced. Naomi Watts’ astonishing dual performance — hopeful ingénue, shattered dreamer, and everything in between. Is this one of the great performances of the 2000s? Laura Harring’s enigmatic presence — mystery, glamour, and the gravitational pull of Rita’s identity crisis. Ian examines Lynch’s vision of Hollywood — a seductive fantasy factory that quietly devours the people chasing it. Liam attempts to untangle the film’s structure — where the dream ends, where reality begins, and whether those categories even apply. The Club Silencio sequence — performance, illusion, and the film’s thesis delivered in one haunting set-piece. The supporting characters — gangsters, directors, hitmen, and cowboys. Comic absurdity or pieces of a much larger symbolic puzzle? The film’s treatment of identity and reinvention — Hollywood as both dream machine and nightmare engine. Shai Bergerfroind joins us for The Endgame — helping us unpack why this film matters so much to him, how he reads the film’s emotional core, and whether the mystery is actually the point. The ending — devastating revelation, emotional collapse, or simply another layer of the dream. And finally, whether Mulholland Drive is the Best Film Ever — or one of the most hypnotic and endlessly interpretable films ever made Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“I have to believe in a world outside my own mind.” Join Ian, Liam, Megs & Kev for our 321st episode as we piece together Polaroids, tattoos, and fragments of memory in Christopher Nolan’s mind-bending thriller Memento (2000). This week the BFE timeline runs forward, backward, and occasionally sideways — and somewhere in the chaos a mystery guest drops in to help us figure out what actually happened. This week we discuss: Christopher Nolan’s narrative construction — reverse chronology, fragmented storytelling, and whether genius sometimes requires a second viewing… or a flowchart. Guy Pearce’s Leonard Shelby — sympathetic victim, unreliable narrator, or architect of his own personal myth? The two timelines — black-and-white clarity vs colour confusion. How the film weaponises structure to manipulate the audience. Megs explores memory as identity — if you can’t remember who you are, can you still be responsible for what you do? Ian breaks down Nolan’s early thematic obsessions — time, perception, control, and why Memento feels like the blueprint for the rest of his career. Liam questions the film’s internal logic — how much of Leonard’s system actually works, and how much depends on blind faith? Natalie and Teddy — manipulators, victims, opportunists, or something much harder to categorise? The mechanics of storytelling — how the film reveals information while simultaneously making us doubt it. Our mystery guest joins us — helping us untangle the film’s structure and asking whether understanding Memento actually improves it. The ending (or beginning?) — revelation, tragedy, or the ultimate self-deception. And finally, whether Memento is the Best Film Ever — or simply one of the most brilliantly constructed puzzles cinema has ever produced. Become a Patron of this podcast and support the BFE athttps://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“You said you couldn’t believe in someone who didn’t believe in you.” Join Ian, Liam & Megs for our 319th episode as we dive headfirst into lace gloves, record store shifts, and 1980s romantic angst with John Hughes’ Pretty in Pink (1986). It’s class divides, prom politics, and the eternal question of who really deserves Andie Walsh. This week we discuss: Molly Ringwald as Andie — resilience, insecurity, and whether she’s a fully realised protagonist or a Hughes archetype dressed in vintage. Blane’s behaviour — romantic lead or emotional liability? Does the film let him off too easily? Duckie’s devotion — lovable underdog, manipulative “nice guy,” or something more complicated? The class tension at the heart of the story — is the film actually saying something about wealth and identity, or just dressing teen drama up as social commentary? Megs unpacks the fashion — iconic, chaotic, deeply 80s. Does the final dress deserve its reputation? Ian explores the alternate ending — what changed, why test audiences intervened, and whether the original choice would have made for a stronger film. Liam questions the soundtrack supremacy — is this peak 80s needle-drop culture, or nostalgia doing heavy lifting? The father-daughter dynamic — quiet emotional centre or underdeveloped subplot? Are certain viewers predispositioned to be on board with this - or not? The prom climax — catharsis, compromise, or cultural time capsule? We debate whether the film romanticises inequality — and whether Andie’s final choice feels empowering or regressive. And finally, whether Pretty in Pink is the Best Film Ever — or simply one of the most enduring teen romances of the 1980s. Become a Patron of this podcast and support the BFE athttps://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“We’re all in this together.” Join Ian, Megs & Kev for our 318th episode as we lace up the Wildcats, grab the basketball (and the sheet music), and head back to East High for Disney Channel’s cultural phenomenon High School Musical (2006). It’s jazz hands, jump shots, and mid-2000s sincerity this week — and yes, we’re absolutely committing to the choreography. This week we discuss: The lightning-in-a-bottle appeal — how a made-for-TV movie became a generational event - especially for one member of the panel. Zac Efron and Vanessa Hudgens — chemistry, charisma, and the myth-making of teen stardom. Does Hudgens get enough credit for the success of the franchise? Ashley Tisdale’s Sharpay Evans — villain, icon, or misunderstood theatre kid with ambition? Is she too good to dislike? Megs breaks down the musical structure — why the songs are catchier than they have any right to be, and which ones still slap. The team talks about the difficulty about the audition process - on both sides of the equation We talk about the differences in social cliques in the North American school system versus the British school system Ian talks about how the whole plot is a conceit that he can't fully buy into - but why? Thematically — identity, peer pressure, and the fear of stepping outside the box. Why this simple message resonated so hard. The “show, don’t tell” debate — does the film trust visual storytelling, or does it lean on dialogue and lyrics to do the heavy lifting? The Disney machine — how the film’s success reshaped the network’s future output. The ending performance — triumphant, predictable, or perfectly engineered for maximum serotonin? And finally, whether High School Musical is the Best Film Ever — or simply the most aggressively rewatchable Disney Channel Original Movie ever made. Become a Patron of this podcast and support the BFE athttps://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/